Joseph Dalton, Classical Notes

Published 4:13 pm, Thursday, April 17, 2014

The religious oratorio is alive and well, thanks to the efforts of American composer John Adams. The latest evidence, just released on Deutsche Grammophon, is "The Gospel According to the Other Mary," a substantial and engrossing composition for vocal soloists, chorus and orchestra. Conductor Gustavo Dudamel leads a performance that includes the Los Angeles Philharmonic. The two-hour depiction of Jesus' death and resurrection debuted in Disney Hall in 2012 and is a natural sequel to Adams' nativity oratorio "El Nino," which was also issued on disc about a decade ago.

The "other Mary" is Mary Magdalene. Yet the narrative does not tread into the somewhat popular but possibly heretical notion that she and Jesus were married, as did Mark Adamo's recent opera "The Gospel of Mary Magdalene." It also steers clear of ever drawing on the gnostic gospels that were discovered in the early 20th century and which inspired Adamo's work. Instead, the libretto is a compilation by director Peter Sellars of biblical sources, mostly passages from Isaiah and the Gospel of John, plus generous amounts of contemporary poetry and prose, from Dorothy Day to Primo Levi. There are only four characters in the story: the sisters Martha and Mary, their brother Lazarus and Jesus. There is a distinct intimacy between them. These days they might be called an alternative family.

Act One opens with a tumult in their home, which also serves as a homeless shelter. From there, it recounts important moments in the gospels. There's the exchange between Martha, the busy worker, and Mary, the more contemplative. Lazarus dies and Jesus returns and raises him out of the tomb. The act ends with Passover. The second act is the Passion.

Apart from the texts that use contemporary language and emphasize the fight for human rights and economic justice, Adams' music also gives a fresh perspective and new relevancy to the sacred story. It's a welcome antidote to the rather ingrained impression that Bach and Handel captured the musical tone of the Bible. There are many passages of great lyricism and spiritual radiance, but the score also surges and bristles with anger and even terror. And those are appropriate emotions for the depth and grandeur of the story.

The orchestra passages are some of Adams' strongest writing, and the L.A. Philharmonic sounds great. The voices, however, sometimes sound heavy or muffled, especially soprano Kelly O'Connor as Mary. Also, the English diction can be hard to understand, so it's worth following along in the libretto. The strongest soloist is baritone Russell Thomas as Lazarus. He ends the first act with a long and searing Passover prayer.

There's no single singer for the voice of Jesus, however. Instead, the scriptural passages that describe his actions or quote him are given to a trio of counter-tenors, who sing in haunting tight harmonies. Adams also used the vocal trio device in "El Nino" as well as in his breakthrough work, "Nixon in China." With that 1987 opera, Adams helped usher in the so-called age of "CNN operas." Maybe his two religious oratorios will also launch a new stream of vibrant religious-themed works for the concert hall.

Chorale season

Locally, the season of choral music is upon us. Springtime is second only to the Christmas holidays as the time to go out and hear community choirs. Here are some upcoming performances: